A few years back, we showed you a bit about Parallel Compression in SONAR. Now that we’ve introduced Patch Points in the Jamaica Plain update, you can do these same things with a much more efficient workflow.
Let’s quickly define parallel processing: In parallel processing, a signal is duplicated into two or more signals. Each copy of the signal is processed differently but plays back simultaneously with the original. The copy/copies are then mixed together.
Parallel Compression, aka “New York Compression,” is most commonly used on drums to add body to the drum mix without flattening the snappy transients.
Check out the video below to see just how easy (and great sounding) this technique can be:
“Audio Production Jobs” come in all shapes and sizes these days;-) Yes, the music industry in general has shrunken to an all-time low in terms of major label budget projects, but the flip side is that there are many nooks and crannies out there to stay creative while making money. I think the key these days is getting into as many industry circles as possible, and then over-delivering. If you’re handed a job for writing, mixing, producing or even recording, and you knock it out of the park the first time with low-no hassles to the client, you will certainly come to mind on the next round. I would also be willing to bet that your name will be referred to other folks outside of that job’s “circle.” You just never know to where things are going to lead.
Stemming from this theory, I have been fortunate enough to work on some pretty diverse projects ranging from title tracks for Pokémon DVD’s to Major Label artists and just about everything in between in one form or another. For the work I do now, the one thing that gives me an edge using SONAR X3 Producer over other DAWs is the quickness of the workflow; which contributes to music creation diversity. Sounds deep right? …well it kind of is. Here’s a real-world example with italicized words in red representing why SONAR X3 features are crucial to me when facing tough audio jobs.
Just a few weeks ago I was contacted by NYC singer-songwriter Jodi Good’s music attorney Steven Beer on a Friday night to discuss an opportunity for a “Holiday Song” to be placed with a major publication [for Monday]. Now usually, “Holiday Songs” are recorded around August or September and we were already at the end of November, so I knew this was going to be a tough one to accomplish especially since the song had to be written, recorded and mixed fast. The other strike against me was that this one was a bit out of my rock, and pop-rock comfort zones, but I knew the challenge would be a good experience on many different levels, so I decided to fire up the eggnog and go for it. Plus I had the comfort of knowing that Jodi is a great songwriter especially in the lyric department, so it was “weekend on.”
Literally that night Jodi was sending me vocal-only words and melodies as text messages on my Samsung S4. She doesn’t play an instrument and we didn’t have the benefit of time, so we had to start writing via virtual and digital means. I instantly forwarded them via email to my HP Z400 main rig whereI drag-and-dropped them into a session for reference where they automatically created audio tracks.The next move was simply pulling them down to a midi track where Melodyne’s ARA technology kicked in instantly giving me the notes in Midi. This helped me to figure out the best chord structures for the verses and pre-chorus and also allowed me to see where I could go writing the chorus melody. After about a half hour on my trusty acoustic, I had the bones to send back to Jodi via text.